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Canto em coro e movimento: uma prática de Educação Musical no 2º Ciclo
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O presente relatório é realizado no âmbito da Prática de Ensino Supervisionada,
componente constituinte do Mestrado em Ensino de Educação Musical do Ensino
Básico. Nele procuro fazer a descrição reflexiva e crítica das atividades desenvolvidas ao
longo do estágio realizado no ano 2017/2018. Muitas vezes “as práticas verificadas na
área de composição situam-se especialmente no domínio rítmico e muito pouco no
melódico; pratica-se o canto em grupo, mas não com a frequência que se esperava”
(Figueiredo, 2015) e sem aumentar o nível de exigência - Cantar Bem. Com este
relatório, pretendo oferecer um contributo à reflexão sobre a importância de cantar em
coro para fazer vozes, desenvolvendo-se atividades práticas de performance (de movimento)
desse canto em coro na disciplina de Educação Musical e em como este permite:
o desenvolvimento auditivo; despertar o bom gosto musical, “desenvolver um modelo
educativo inclusivo de forma inerente” (proposto por Abreu Anselmi, cit. por Pérez-
Aldeguer, 2014) e dar pleno cumprimento a uma experiência viva que torna o ensino da
música mais completo.
O relatório está dividido em quatro capítulos. O primeiro dedica-se à contextualização
do ensino da música em Portugal, os programas e objetivos da educação musical
no 2º ciclo. O segundo capítulo apresenta a contextualização da prática letiva, com a
caraterização do local onde foi realizado o estágio. Seguidamente, descreve-se fundamentalmente
a Prática de Ensino Supervisionada nas suas componentes de observação
e de lecionação de aulas. As práticas letivas assentam na interseção de cinco
pressupostos: fundamentação teórica, programação letiva, relação com o programa da disciplina, competências pessoais performativas e musicais e a avaliação. Neste terceiro
capítulo ainda se descreve o Projeto “Compositores de Todos os Tempos” que dinamizei
na escola cooperante e a minha participação nas atividades desta escola, nomeadamente,
no Clube de Rádio. No último capítulo, reflito sobre uma investigação escolhida
na prática de ensino supervisionada, na sua aplicação e resultados e que se intitula
“Canto em Coro e Movimento”.
The present report focuses on the Supervised Teaching Practice carried out in the context of the Master’s Degree in Teaching Musical Education for Elementary Education. Through it, I aim to describe in a reflexive and critical approach the activities developed throughout the school year of 2017/2018. Often "the practices verified in the area of composition are located especially in the rhythmic domain and very little in the melodic one; practice singing in a group, but not with the frequency that was expected” (Figueiredo, 2015) and without increasing the level of demand - Sing Well. With this report, I intend to offer a contribution to the reflection on the importance to sing in choir to make voices, developing practical activities of performance (of movement) of this singing in choir in the discipline of Music Education and how it allows: Ear training development; to awaken musical taste, "to develop an inclusive educational model in an inherent way" (proposed by Abreu Anselmi, cit. by Pérez-Aldeguer, 2014) and to give full compliance to a living experience that makes the teaching of music more complete. The report is divided into four chapters. The first is dedicated to the contextualization of music education in Portugal, the programs and objectives of music education in the 2nd cycle. The second chapter presents the context of learner practice, with the characterization of the place where the internship was carried out. Next, the Supervised Teaching Practice is described fundamentally in its components of observation and teaching of classes. The learner practices are based on the intersection of five assumptions: theoretical foundation, learner programming, relationship with the discipline program, personal skills performative and musical and evaluation. In this third chapter still described the Project that I dynamized “Composers of All Times” in the cooperating school and my participation in the activities of this school in particular in the Radio Club. In the last chapter, I reflect on a chosen research in supervised teaching practice in its application and results and that is entitled “I sing in Choir and Movement”.
The present report focuses on the Supervised Teaching Practice carried out in the context of the Master’s Degree in Teaching Musical Education for Elementary Education. Through it, I aim to describe in a reflexive and critical approach the activities developed throughout the school year of 2017/2018. Often "the practices verified in the area of composition are located especially in the rhythmic domain and very little in the melodic one; practice singing in a group, but not with the frequency that was expected” (Figueiredo, 2015) and without increasing the level of demand - Sing Well. With this report, I intend to offer a contribution to the reflection on the importance to sing in choir to make voices, developing practical activities of performance (of movement) of this singing in choir in the discipline of Music Education and how it allows: Ear training development; to awaken musical taste, "to develop an inclusive educational model in an inherent way" (proposed by Abreu Anselmi, cit. by Pérez-Aldeguer, 2014) and to give full compliance to a living experience that makes the teaching of music more complete. The report is divided into four chapters. The first is dedicated to the contextualization of music education in Portugal, the programs and objectives of music education in the 2nd cycle. The second chapter presents the context of learner practice, with the characterization of the place where the internship was carried out. Next, the Supervised Teaching Practice is described fundamentally in its components of observation and teaching of classes. The learner practices are based on the intersection of five assumptions: theoretical foundation, learner programming, relationship with the discipline program, personal skills performative and musical and evaluation. In this third chapter still described the Project that I dynamized “Composers of All Times” in the cooperating school and my participation in the activities of this school in particular in the Radio Club. In the last chapter, I reflect on a chosen research in supervised teaching practice in its application and results and that is entitled “I sing in Choir and Movement”.
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Prática Musical Arranjos, Harmonia Compositores Canto em Coro Professor-artista Coreografia Musical Practice Arrangement Harmony Composers Singing in Choir Teacher- artist Choreography